Pameran Keris Kamardikan - Kamardikan Keris Exhibition 27 - 28 Aug 2016

satsujinken · 29th August 2016, 06:23 AM

at least 5 judges choose a keris made by Panre Jiwa, Andi Tenri Polowija as the best Kamardikan Keris in heritage preservation category - He won BCA Award in Kamardikan Keris Competition held at Jiwangga Spiritual Resort, owned by Dayu Handoko Family in Bromonilan, Purwomartani on Sunday, 28th August, 2016

What so special about this keris ? the blade materials, both for the blade and pamor was taken from old steel / metals in the bottom of Matano Lake, in South Sulawesi with approximate depth of 90 m, such materials are called 'lemme' and lemme has specific characteristics, named the blackness of the iron and the whiteness of the pamor materials, making it a very distinct contrass on the blade

other special aspect is the technique applied for making this keris, the technique used for the pamor is called 'gamacha' or matress-weaving, and also 'tritik untu walang' on the blade. This technique is extremely difficult and it was made by Panre Jiwa, and well documented

Gamacha or matress weaving is made literally by "weaving" iron and using special technique to produce 'untu walang' pamor

"making this keris really gave me headache ... " said Panre Jiwa, after declared as a winner - in Bromonilan

is this only a mere effort to promote Sulawesi keris ?

Panre Jiwa said it is not, he and his friend will continue to make keris as it was made by their ancestors, using the same method and materials as their ancestors in Luwu Kingdom, and also Bone Kingdom, which usually used mountain stone in Southern and Central Sulawesi, which are known to be very rich in nickel content

We do hope Panre Jiwa won't stop continuing his art

Marcokeris · 29th August 2016, 06:36 PM

Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko

.Thanks for sharing Satsujinken!

satsujinken · 30th August 2016, 03:14 AM

I try to post all pics here, so that it can be viewed for years to come

satsujinken · 30th August 2016, 03:16 AM

enjoy

satsujinken · 30th August 2016, 03:17 AM

and more

satsujinken · 30th August 2016, 03:19 AM

and more

satsujinken · 30th August 2016, 03:23 AM

and more

satsujinken · 30th August 2016, 03:30 AM

Quote:

Originally Posted by Marcokeris

Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko

.Thanks for sharing Satsujinken!

still more, Marco

I hope you enjoyed it

Donny

Marcokeris · 30th August 2016, 06:30 PM

Yes I enjoy a lot. Thanks again Donny

David · 30th August 2016, 07:39 PM

Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual.

mariusgmioc · 30th August 2016, 08:53 PM

Thank you!

A. G. Maisey · 30th August 2016, 11:11 PM

In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art.

A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI".

The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art.

The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form.

I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers.

His comment was:-

"Yes, these are art, but are they keris?"

If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form.

However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage.

29th August 2016, 06:23 AM	#1
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	one of the winner at least 5 judges choose a keris made by Panre Jiwa, Andi Tenri Polowija as the best Kamardikan Keris in heritage preservation category - He won BCA Award in Kamardikan Keris Competition held at Jiwangga Spiritual Resort, owned by Dayu Handoko Family in Bromonilan, Purwomartani on Sunday, 28th August, 2016 What so special about this keris ? the blade materials, both for the blade and pamor was taken from old steel / metals in the bottom of Matano Lake, in South Sulawesi with approximate depth of 90 m, such materials are called 'lemme' and lemme has specific characteristics, named the blackness of the iron and the whiteness of the pamor materials, making it a very distinct contrass on the blade other special aspect is the technique applied for making this keris, the technique used for the pamor is called 'gamacha' or matress-weaving, and also 'tritik untu walang' on the blade. This technique is extremely difficult and it was made by Panre Jiwa, and well documented Gamacha or matress weaving is made literally by "weaving" iron and using special technique to produce 'untu walang' pamor "making this keris really gave me headache ... " said Panre Jiwa, after declared as a winner - in Bromonilan is this only a mere effort to promote Sulawesi keris ? Panre Jiwa said it is not, he and his friend will continue to make keris as it was made by their ancestors, using the same method and materials as their ancestors in Luwu Kingdom, and also Bone Kingdom, which usually used mountain stone in Southern and Central Sulawesi, which are known to be very rich in nickel content We do hope Panre Jiwa won't stop continuing his art Attached Images

30th August 2016, 03:14 AM	#3
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	more and more I try to post all pics here, so that it can be viewed for years to come Attached Images

30th August 2016, 03:16 AM	#4
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	enjoy Attached Images

30th August 2016, 03:17 AM	#5
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	and more Attached Images

30th August 2016, 03:19 AM	#6
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	and more and more Attached Images

29th August 2016, 06:36 PM	#2
Marcokeris Member Join Date: Aug 2006 Location: Italy Posts: 928	Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko .Thanks for sharing Satsujinken!

30th August 2016, 03:23 AM	#7
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	and more Attached Images

30th August 2016, 06:30 PM	#9
Marcokeris Member Join Date: Aug 2006 Location: Italy Posts: 928	Yes I enjoy a lot. Thanks again Donny

30th August 2016, 07:39 PM	#10
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,228	Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual.

30th August 2016, 08:53 PM	#11
mariusgmioc Member Join Date: Sep 2014 Location: Austria Posts: 1,911	Thank you!

30th August 2016, 11:11 PM	#12
A. G. Maisey Member Join Date: May 2006 Posts: 7,047	In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art. A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI". The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art. The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form. I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers. His comment was:- "Yes, these are art, but are they keris?" If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form. However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage.